Typically, a mixing console (also known as an audio mixer, mixing desk, audio production console and soundboard) is a device for combining (also known as mixing or summing) audio signals.
Mixing consoles are used extensively in the entertainment industry, and have many applications, e.g. in recording studios, sound reinforcement systems, public address systems, broadcasting, radio, television, film post-production, and at live concerts.
In use, a mixing console is provided with at least two audio input signals, each signal being directed to an input channel of the console. The input signals may be analogue or digital. The mixing console may be able to mix those input signals together to produce one or more combined output signals. A mixing console may apply one or more pre mixing processes to an input signal prior to mixing with any other input signal or signals. Also, the mixing console may apply one or more post-mixing processes to any of the combined output signals. The mixing console has means to direct one of the combined output signals to an output source, such as an amplifier, speakers, headphones, monitor or a recording device. When an output signal is transmitted to an audience, this signal is often known as the “main” or “master” output signal. The term ‘audience’ is intended to refer to anyone (or anything, such as a recording device) that is intended to receive the main output signal, but is not generally actively involved in the creation/production of the input signals and/or operation of the mixing console.
However, the mixing console may also provide an output signal that is not intended for an audience, but is instead intended for one or more reviewers (e.g. one or more performers, musicians, singers etc. and/or console operators). This may be directed to a monitor speaker and/or headphones. Such an output signal is often known as the “auxiliary mix”. This is useful, for example, where one performer wants to be able to hear one or more of the other performers more clearly.
For example, a mixing console would allow audio signals which originate from three performers (e.g. a singer, a drummer and guitarist) to be mixed together and heard through a set of speakers by the audience. The mixing console has an input to receive each performer's audio signal (e.g. via microphones connected to (or part of) the mixing console). The mixing console operator may apply one or more pre-mixing processes to each input signal, and/or one or more post-mixing processes to the combined input signals to create a master output signal and an auxiliary output signal.
The operator may apply these processes to each input signal and to the combined output signal to change the overall nature/quality of the combined output signal, with the purpose of obtaining an appealing, optimum or desired sound or sound effect.
The master output signal may be sent to the audience. The auxiliary output signal may be sent to an individual performer. This signal may be further processed independently of the master output signal prior to reaching the performer.
However, it is possible that the performer is not satisfied with the nature of this auxiliary output signal and, in particular, the way in which one of the input signals, from one of the performers, is being processed. In this case, the console operator is only able to hear via his or her own headphones either each individual input signal, either unprocessed or after initial processing, the auxiliary output signal directed to the performer, or the master output mix and it is therefore difficult for the operator to identify in what way the processing could be changed in response to the performer's concerns.
This is particularly problematic at a live concert where there is a great deal of pressure to resolve any perceived problem with the combined output signal, so as to provide the audience, often fee paying, with the best experience possible.
The more input signals the mixing console has to process at any one time, the more challenging it becomes for the operator to provide a master output signal which has an appealing, optimum or desired quality, and to provide satisfactory auxiliary output signals for each of the performers.
There remains a need to be able to optimise the output signals, and in particular to be able to identify and correct any perceived problem with the master output signal and/or the auxiliary output signals.